Rossi fest Belgrade

Masterclass in choral conducting by Oded Shomrony, at the Jerusalem Academy of Music. 26.-27. january 2018 Choral conducting masterclass with Oded Shomrony Jevrejska opština Beograd 26. - 27. January 2018. We are very happy that maestro Oded Shomrony gave a two-day masterclass in choral conducting at Rossi Fest 2018, with two different sessions - individual sessions with maestro Shomrony intended for young conductors, students of conducting, but also students of secondary music schools who want to engage in conducting; whereas the second session - conducting Adi Chor, was intended only for experienced students of conducting and young conductors. Oded Shomrony Oded Shomrony studied piano, voice, and violin. He has earned his master's degree in conducting from the Jerusalem Academy of Music and Dance. Mr. Shomrony turned to conducting at the age of seventeen, serving as an assistant conductor at the International Opera Workshop in Tel Aviv. Since then, he has acted as a conductor of the Moran singers ensemble and musical director of both, the Open Concert Project and the Thalamus vocal quartet. He is currently chief conductor of the Jerusalem Oratorio Choir, the musical director of the Choral Fantasy in Jerusalem Festival, and the baritone of the Thalamus quartet. Mr. Shomrony has conducted numerous orchestras, including the Israel Camerata Jerusalem and the Israel Chamber Orchestra, and as of 2004, he has been teaching (counterpoint, harmony, ear training, and choral conducting) at the Jerusalem Academy of Music. 1/1

The fourth edition of the academy will commemorate the 100th anniversary of Giacomo Puccini's death with a performance of the opera "Suor Angelica" and celebrate the 145th anniversary of the founding of the Baruch Brothers Choir with a concert as part of the European Days of Jewish Culture. Both concerts will take place in the theater Madlenianum in Belgrade on 27th September 2024. SUMMER OPERA ACADEMY August 20-27, 2024, Belgrade Rossi Fest Summer Opera Academy is dedicated to presenting and promoting opera to domestic and international audiences and educating young opera professionals. The fourth edition of the academy will commemorate the 100th anniversary of Giacomo Puccini's death with a performance of the opera "Suor Angelica" and celebrate the 145th anniversary of the founding of the Braća Baruh Choir with a concert as part of the European Days of Jewish Culture. One of the festival's key goals is the development and enhancement of the professional skills of young opera artists in line with global standards. This year, the Summer Opera Academy offers young singers the opportunity to attend a masterclass with Metropolitan Opera soprano Olga Makarina and work with conductors Adi Bar Soria (Israel) and Stefan Zekić. The program includes: Intensive stage and music rehearsals for the production of Giacomo Puccini's opera "Suor Angelica." Individual online sessions with Olga Makarina. Work with conductors Adi Bar Soria and Stefan Zekić. Acting workshop "Character Through Action" – creating a character through active stage presence, led by director Ana Grigorović (National Theatre in Belgrade). Stage production with an orchestra for the "Suor Angelica" opera at the Madlenianum Theatre. Media coverage of performances (post-production, interviews, etc.). Professional video and audio recordings of the performances. Professional photographs of all events, including rehearsals. Application and Information: The application is free of charge. Application deadline: September 3, 2024. Participation fee: 800€ Rossi Fest offers special scholarships to the most talented young singers from Serbia. For more information, contact us at: contact@rossifest.org . Artistic team: Adi Bar Soria conductor, vocal coach Stefan zekić conductor Ana Grigorović director Ana Grigorović director Previous editions of Summer Opera Academy 2023 Concert of the participants of the Academy 2021 Mocart competition 2022 Opera "Il Tabarro" 2022 Gala concert "Renewal" 2023 Opera review "Der Schauspieldirektor" 2023 Concert of the Academy participants

Marking of Holocaust Remembrance Day. Open call for young composers. National Museum Belgrade. 27. januar 2019. Concert Portraits and Remembrance Marking of Holocaust Remembrance Day National Museum Belgrade 27. January 2019 The Portraits and Remembrance concert is a significant part of the Rossi Fest program and is the only part of the festival that is constantly on the program of all festival editions. On the occasion of the World Day of Remembrance for Holocaust Victims, the program will consist of works made by young composers selected at the Competition for Composers: Portraits and Remembrance , as well as representative works composed by Jewish authors and historical works that correspond to the theme of the concert. By participating in the Rossi Fest Competition Composers, young composers have the opportunity to contribute to the world's cultural heritage in the area of preserving memories of Holocaust victims and giving honor to those who opposed it, using historical literature and other sources as an inspiration or part of their compositions. The Artistic Committee of the festival selects the most representative performances for the concert each year. This year, applications from countries around the world have been received (Luxembourg, Portugal, Croatia, Hungary, Iran, Mexico, Italy, Serbia, Uruguay, Kadana, Brazil, BiH, France, Israel, Russia, China, UK, South Africa, Armenia, Montenegro, USA, Ukraine), with nearly fifty compositions. The Artistic Committee of the Festival selected five pieces, from the following authors: Lazar Djordjevic (Serbia), Nina Perovic (Montenegro), Bracha Bdil (Israel), Ben Lunn (UK), and Guy Ben-Tov (Israel). In addition to the various chamber ensembles that will be presented to us that evening, the Jewish Chamber Orchestra, the Baruch Brothers Choir, and the Synagogal Ensemble Berlin will also take part in performing at the concert. This year, the festival received entries from over twenty countries around the world from nearly fifty compositions, and the Artistic Committee of the Festival selected five compositions, from the following composers: Ben Lunn (UK), Bracha Bdil (Israel), Gay Ben-Tov (Israel), Nina Perovic (Montenegro) and Lazar Djordjevic (Serbia). Besides the Baruch Brothers Choir and Jewish Chamber Orchestra, Synagogal Ensemble Berlin and vocal soloists and musicians gathered in various instrumental ensembles and performed at the concert. The concert was conducted by Regina Yantian (Germany), Stefan Zekic, and Djordje Perovic. 1/4 Ars Sonora - RTB 28. januar 2019 00:00 / 00:00 Nina Perovic Nina has completed her basic and specialist studies of composition at Music Academy in Cetinje in the class of professor Zark Mirkovic. She graduated piano in the class of Professor Alexander Serdar, and she completed her specialist studies in the class of Professor Vladimir Bockarjev. Thanks to the scholarship Basileus she continued her studies of composing at the Music Academy in Ljubljana, in the class of professor Uros Rojko, where she gained Master's degree. She completed her PhD studies in the class of professor Srdjan Hofman, at the Faculty of Music in Belgrade. She has been studying at numerous courses abroad with renowned international composers such as Klaus Lang, Peter Ablinger, Georg Friedrich Has, Beat Furer, Dmitry Kourliandski, Vinko Globokar, Nigel Osborn and others. She is engaged as an associate in teaching and as a guest lecturer at the Music Academy of Cetinje. Withesses The text of this piece consists of two different and quite remote texts. The first one, that the piece is named after, is a testimony of German military doctor that served on Russian front, taken from Hannah Ardent`s Eichmann in Jerusalem , and is "among the very few subjectively sincere memoirs of its kind" (The New Yorker) and the second one is Mirko Banjević`s poem Nad sobom nevječnim . The musical material is systematically organized by the looks of a keyboard and the relationship between black and white keys, where the note `D` has the `main role`. The soprano interprets the text of the poem, while the narrator delivers the textual basis of the testimony. The diligence and the simplicity of the music material, as well as the meaning and relationship of the two texts, invite the listener for inner viewing of this problematics and ethical values of that time`s individuals and society, but also of the time we live in." Braha Bdil Bracha Bdil, composer and pianist, born in 1988, has a B.ed in Music Education from Levinsky College and a Master's degree in Music Education and Composition from the Jerusalem Academy of Music and Dance, led by Professor Andre Hajdu, o.b.m. and Professor Haim Permont. Bracha won the first prize in the Wolf Durmashkin Composition Award , Germany, the first prize in the Yardena Alotin Composition Competition , Bar-Ilan University, Israel, and a prize in the International Choral Writing Competition named after A.D Kastalsky – Moscow. Her repertoire includes orchestral music, chamber, vocal and electronic music, as well as music for dance and theatre. Her compositions have been performed around the world, including: China International Choir Festival - Beijing, Belt and Road World Choir Festival - Hong Kong, International Jewish-German Festival – Bavaria, Concert sponsored by the Russian Musical Union - Saint-Petersburg, The Schnittke Festival - Seratov-Russia, Société de Concerts de Montréal – Canada, and more. Bracha is a member of the Israel Composers' League and her works are often performed on Israeli stages and the Israeli radio. Starting from season 2018-9 Bracha has been appointed as artistic director and chief conductor of the women's Zmora orchestra in Jerusalem. Hayom "This day He causeth all the creatures of the universe to stand in judgment. Have mercy upon us, O Thou, who art tremendous, holy". (Jewish prayer book) The composition Hayom is for a Tenor and Horn. It is a soloist meditative composition which is performed entirely behind the scenes in a dark hall. The soloist tenor hums pentatonic decorated melodic lines that imitate ancient 'genesis' singing. Further on a horn joins in and imitates the tenor line like an echo and creates a dialogue with it. Further on the tenor sings the words of poetry which are said on Rosh-Hashanah. This day – mining the holly important day which G-d is judging all human beings for their past acts and determines their future, for good or for bad. The composition ends with a horn blast that connotes the blowing of the shofar – the Jewish symbol of that special day - Rosh Hashanah (the first day of the Jewish New Year) - the day that human being was created and is to be judged for his acts. Gaj Ben-Tov Guy Ben-Tov is an Israeli born composer-performer and video artist, currently residing and studying in Austria. The conflict between the absolute power bestowed upon the artist (composer/director) and the need for collaborators (performers/actors) to achieve an artistic vision, is currently a fundamental element in his aesthetic and moral approach to artmaking. Exploring a wider definition of the relations between performer and composer, in 2018 he formed Ungrateful Ambassadors , a composer/performer duo with Mathilde Vendramin. Currently finishing his Master’s degree in Composition and Music Theater at the Kunst Universität Graz under the guidance of Prof. Beat Furrer and Bernhard Lang. During various workshops, festivals and other musical activities he had the opportunity to study with Mark Andre, Matthew Shlomowitz, Dimitra Trypani, Jennifer Walshe, Klaus Lang, Hannes Seidl, Rebecca Saunders, Milica Djordjevic and Marco Blaauw. His pieces have been performed in Israel (Va’Yissa Meshallo Va’Yomar - Modalius Ensemble at the Israeli Music Festival ), Turkey (Zrima -Herzafen Ensemble in Ankara ), Germany (Ḥibur-חיבור in Darmstädter Ferienkurse 2018 ), Austria (YomoLedeT and Song of Food-ensemble B.i.R.D as part of Obsession Zeichnen an exhibition in the BRUSEUM, Neue Galerie, Graz), Greece, and Italy. Liebe Luise! for Voice, Classical Guitar, Clarinet, Piano, Cello and Contrabass The texts in the piece are from a letter written shortly after WW2 by a German friend of my great grandmother, telling her about the last days of her parents in the concentration before they were murdered. In this piece, I am trying through very limited use of the instruments to present memories as unreliable and the past as a fading image, the past can be remembered in various ways and there is never a single monolithic objective perspective. This is the first movement of a bigger project I'm working on, but it could also be performed as a self-contained piece. Ben Lun His music has been described as ‘Evocative’, ‘Restrained Otherwordliness’, ‘Chilling’, ‘sophisticated and most importantly obsessive’ or ‘produces…glorious roaring sounds’ and ‘desolate monotone’. He has also been referred to as a ‘Composer of life music’. Ben Lunn is a Mackem composer who studied in the Royal Welsh College of Music and Drama under the guidance of Peter Reynolds, as well as studying in the Lithuanian Academy of Music and Theatre with Marius Baranauskas. He has also received guidance from Param Vir. Since graduating from his Master’s he now resides in Glasgow, working in various elements including conducting, musicology, teaching and composing. His work has been featured in many leading international festivals including Vale of Glamorgan , London New Wind Festival , Druskomanija , Leeds Leider+ , Zilele Muzicale Aniversare , HASS FEST , Toronto Contemporary Music Lab , and Occupy the Pianos . He has had the privilege of working with leading international ensembles and soloists like N.A.M.E.S, Sofia Soloists, Lithuanian National Symphony Orchestra, Ensemble Synaesthesis , Music Theatre Wales, Ligeti Quartet , OeNM, Ensemble X and Y, Nikolai Matsov, Rolf Hind, Francoise-Green Duo, Zubin Kanga, Martynas Levickis, JVLMA, and Jauna Muzika. Currently, he has been made an associate artist for Drake Music . And in October he was appointed Trainee Artistic Director of the Hebrides Ensemble . Ben Lunn is also featured in the British Music Collection and the British Council’s Disability Arts Online as a featured artist. He is published by Oriana Productions T-4 for Violin, Cello, Alto Trombone, Motion Detection, and Electronics T-4 makes reference to the Nazi euthanasia programme where thousands of disabled people were sterilised, experimented on, and murdered simply for being seen as 'defective'. The piece constantly references names of some of those lost and parallels them with disabled people being killed as a result of the British government's austerity measures. In short, it asks have we learnt our lesson from the past or are we repeating the same horrific mistakes? Lazar Djordjevic Lazar Djordjevic was born in 1992 in Kragujevac. In 2010 he enrolled in basic academic studies of composition at the Faculty of Music in Belgrade, in the class of Zoran Eric, a full-time professor. He is currently a student of the final year of doctoral academic studies. Lazar Đorđević was trained abroad by attending compositional workshops led by composers Peter Ablinger, Vinko Globokar, Stephen McNeff, Sidney Corbett, Johannes Kretz, Yann Robin... The compositions by Lazar Djordjevic were performed several times in the country and abroad. Apart from his own compositions, many of Djordjevic's orchestrations of other authors, as well as the works in the field of applied music, have been performed. For the composition Jednom sam negde čuo... for clarinet, accordion and string quartet (2016) he received an international award for the best composition at the contest New Serbian Music for the Accordion at the International Festival of Accordions Eufonija . He is a prize-winner from the Stevan Hristic Foundation in 2015 and Josip Slavenski Foundation in 2017. He is the author of the first Serbian concert for accordion and orchestra, premiered in 2017 at Novi Sad. Lazar Đorđević is currently employed as an assistant at the Department of Music Theory at the Faculty of Music Arts in Belgrade. IV postcards from 1944 The inspiration for making this piece is the author`s first encounter with Bor`s Notebook (Bori notes ) of Miklós Radnóti. This "continuous lyric report on calvary and confrontation with calvary", as said by Aleksandar Tišma in the foreword, has its culmination in four postcards from 1944. The piece is written for a reciter and chamber ensemble consisting of flute, clarinet, bass clarinet, piano, violin, viola and double bass, and the poetics of the piece is a result of the author`s exploring of sound colour and timbre of many years and of his constant search for the new means of expression. The form of the piece depicts in its four sections each of the four Radnóti`s postcards. Radnóti`s poem that is not a part of the postcards, but has made a strong impression of the author, appears as a leitmotif of the piece. Oratorio Todesfuge (Paul Celan), by Anna Segal Well known Israeli contemporary composer Anna Segal has extensive musical experience. She is working with different musical collectives and has been lucky to collaborate with the Berliner Symphonic Orchestra in Berlin and the great Israeli conductor Lior Shambadal. She composes music for orchestra, choir, quintet, suites, pieces for solo instruments, film scores as well as music for children. One of her latest pieces has been focussed around the Holocaust. She wanted to create something important that, in artistic form, will tell the world more about this tragedy. By chance, a friend drew her attention to the poetry of Paul Celan. And the jigsaw puzzle was completed. The poem is in narrative form and is from the perspective of the persecuted Jewish people. The poem begins with a very bright image – “black milk…” The white milk in Celan´s poetry turns black, symbolic of the world turning over to pain and horror. The obsessive repetition of those lines being the only thing left when all capacity to think is lost in the darkness. Celan’s poem does not have a happy end, and it cannot be in that situation, so Anna Segal decided to take a line from another well-known Celan’s poem Tenebrae for the end of this composition. In the final lines, the Jewish people ascend to “heaven”, they are next to the Lord. It seems to her that this is a symbolic end, so the last passage sound in major, as a symbol of hope and forgiveness. When this musical piece was finished, Anna Segal played it to her grandmother Frida, who survived the Holocaust. She could not listen to the end, tears welling in her eyes. The Israeli composer will dedicate the premiere of Todesfuge at the festival to her grandmother. Anna Segal´s personal interpretation of Paul Celan´s poem is taking the listener on a journey into the memory of the Jewish people. The music is giving the poetry of Celan colour and maybe a new life. Synagogal Ensemble Berlin The ensemble consists of eight to twelve singers who work as freelance soloists or belong to the Berlin opera choirs. The Synagogal Ensemble Berlin is the only ensemble in the world that brings the liturgy of Louis Lewandowski to music every Friday night, Shabbat morning and on all Jewish holidays. In his concerts with the Synagogal Ensemble Berlin, Cantor Isaac Sheffer brings this unique Jewish-German tradition into the world, with compositions by other great composers of the 19th century such as Salomon Sulzer and Samuel Naumbourg as well as from the 20th century such as Kurt Weill, Maurice Ravel, Ben Steinberg, Meir Finkelstein and others. The ensemble performs again and again in Poland, England and France. Regina Yantian, director of the Synagogal Ensemble Berlin Already at the age of 12, Regina Yantian became interested in organ music. At the age of fifteen, she began her education as an organist and choirmaster and subsequently studied comparative musicology and Jewish studies in Jerusalem and Berlin. Since 1998 she is organist and choirmaster of the synagogue Pestalozzistraße in Berlin-Charlottenburg. For many years Yantian sang herself in the synagogue choir and got her artistic impulses through her work with Cantor Estrongo Nachama. She is also the director of the Synagogue Ensemble Berlin, which is known far beyond the borders of Berlin. Yantian is particularly proud of her latest project: since 2011 she has been Artistic Director of the Louis Lewandowski Festival, inviting synagogue choirs from all over the world to dedicate themselves to Louis Lewandowski's tradition. As part of the cultural program, the municipalities have two programs to choose from European and American Synagogal Music of the 19th and 20th Century and Jewish songs from Eastern Europe and Israel. Jewish chamber orcest Jewish Chamber Orchestra was founded in 2012 by Ladislav Mezei in cooperation with B'nei B'rit lodge of Serbia. The members of the orchestra are professional musicians of Jewish descent and their friends. The JCO's primary purpose is to present the music of Jewish composers, as well as the others, whose written work was inspired by Jewish themes. Their interpretations are related to tradition, culture and history of Jewish community of Serbia. Hor Braća Baruh The Baruch Brothers Choir from Belgrade was established as the Serbian-Jewish Singers Society in 1879, with the goal of cherishing and performing the cultural and artistic heritage and tradition of the Jewish people which lives in these parts. The Society changed its name in 1952 to the current name in commemoration of the three brothers from the progressive revolutionary Jewish family of Baruch, members of the resistance movement who were killed during the pogroms of the Nazi regime during the Second World War. Joshua Jacobson (Boston, USA), conductor and a renowned researcher in the field of Jewish music, has concluded that this choir is the oldest active Jewish choir in the world. From the year of its foundation until today, the choir has held numerous concerts and participated in many competitions and festivals in the former Yugoslavia (Yugoslav Choral Festivities in Nish, Mokranjac’s Days in Negotin, BEMUS, BELEF, Choirs among the Frescoes in Belgrade and others), as well as abroad (Israel, USA, France, Italy, Austria, Switzerland, Greece, the Netherlands, Hungary, Spain, UK and others). Among the most important performances of the choir, we would like to mention the concert in Carnegie Hall in 1978, as well as the attendance of our choir on numerous occasions at the most important Jewish choir festival Zimriya in Jerusalem. Our ensemble has gradually perfected its performance under the conductorship of the most eminent conductors and composers of our country (S. S. Mokranjac, J. Marinković, S. Hristić, B. Babić, B. Pašćan, A. S. Vujić, et al.), having gained under their guidance a high level of artistic interpretation and superb discipline in stage performance. The repertory of the choir consists of representative works of musical literature from both Jewish and Serbian composers, as well as all the most important works of the classical choir repertory of all styles and epochs and the works of modern composers. The Baruch Brothers Choir has been awarded two times for the cultural affirmation of its country by the presidency of Serbia, and in the past five years, the choir won many significant awards. The choir’s admirable success was largely achieved by the contribution of its conductor, Stefan Zekic, and the president, Branka Cvejic - Mezei. Mina Gligorić, soprano Rođena je 1993. godine u Šapcu. Osnovne i master studije solo pevanja završila je na Fakultetu muzičke umetnosti u Beogradu u klasi prof. Katarine Jovanović sa najvišom ocenom. Proglašena je za najboljeg studenta u akademskoj 2014/2015. godini. Višestruki je dobitnik nagrada na takmičenjima Nikola Cvejić, Srpska solo pesma, laureat na takmičenju Lazar Jovanović. Pored mnogih koncerata koje je organizovao Fakultet, ističe se učešće na Dunav festu, Rosi festu, a kao uspešnog studenta je nagrađuju Centar lepih umetnosti Guarnerius i Narodna biblioteka Srbije. U oblasti barokne muzike usavršavala se sa prof. Erihom Trakslerom sa Univerziteta umetnosti u Beču, sa Evelin Tab, a u okviru Barokne austrijske akademije sa Kristijanom Hilcom, Robertom Mameli i Marinom Bartoli. Na ovom kursu postaje stipendista za 2017. godinu. Izabrana je da bude polaznik majstorske radionice Vladimira Redkina, soliste Baljšoj teatra, i Dejvida Gaulenda, umetničkog direktora programa za mlade u Royal Opera House. Trenutno je polaznik Operskog studija Narodnog pozorišta, honorarni saradnik pozorišta Madlenianum i Duško Radović. Vuk Zekić, bariton Diplomirao je na odseku za solo pevanje na Fakultetu muzičke umetnosti u Beogradu u Klasi profesora Nikole Kitanovskog. Od 2001. godine angažovan je kao stalni solista hora Braća Baruh sa kojim redovno nastupa na svim značajnim koncertima, festivalima i takmičenjima u zemlji i inostranstvu (Italija, Slovenija, Austrija, Mađarska, Švajcarska, Španija...). Kao solista je učestvovao i u snimanju dva CD-a za hor Braća Baruh izvodeći dela srpskih, jevrejskih i svetski poznatih autora. Po završetku studija pevanja dobio je nagradu Fakulteta muzičke umetnosti za najperspektivnijeg mladog pevača sa najvišom prosečnom ocenom u svojoj generaciji. Pored brojnih nagrada koje je osvojio tokom školovanja, dobitnik je i specijalne nagrade na Međunarodnom takmičenju operskih pevača Citta' di Alcamo (Italija, 2008. godine) koju mu je dodelio žiri u sastavu Richard Bonynge, Joan Sutherland, Lella Cuberli. U okviru operskog studija Narodnog pozorišta tumačio je uloge Marčela (Boemi) i Enrika (Lučija od Lamermura), kao i u praizvedbi Pučinijeve opere Il Tabarro, u ulozi Mikelea. Od 2010. godine je solista u Narodnom pozorištu u Beogradu. Simonida Rodić, flauta Završila je doktorske akademske studije (2015), specijalizaciju (2010) i diplomirala (2009) na studijskom programu za flautu na Fakultetu muzičke umetnosti u Beogradu, u klasi profesora Ljubiše Jovanovića. Master studije i specijalizaciju za instrument Pikola završila je u Norveškoj na Univerzitetu u Stavangeru, u klasi profesora Vidara Austvika. Dobitnica je mnogih stipendija i nagrada na festivalima, republičkim i međunarodnim takmičenjima. Redovno nastupa kao solista i kamerni muzičar u zemlji i inostranstvu. Nikola Ðurica, klarinet Kada je kao petogodišnjak, prvi put čuo i video klarinet, rekao je: "Hoću to da sviram!” U periodu od 2003-2006 uzima 14 specijanlih nagrada (100 od 100 poena) I 9 prvih nagrada. U Septembru 2006 sa svojih nepunih 15 godina odlazi u Ameriku gde nastavlja srednju skolu u prestiznoj (Interlochen Arts Academy- Michigan USA) Nikola je bio vukovac, nastavio je svoje studije sa Pr. Franklin Cohen na “Cleveland Institute of Music” u Klivlendu/Ohio. Od leta 2012 Nikola postaje profesor na Internacionalom Festivalu Kamerne muzike u Pragu po imenu AMEROPA, Sa svojom 21 godinom Nikola diplomira sa cistim desetkama i nastavlja svoj put dalje u Japan. Po njegovom povratku u Beograd on je oformio Duo Gitarinet sa kolegom gitaristom – Mirkom Dimitrijevic. Gitarinet je pobednik na RTS emisiji “Najbolji Orkestar Srbije”. Od Novembra 2016, Nikola postaje kljucni deo Jazz Improvising Orkestra pod imenom “Stegreif” – Berlin Nemacka. Kao lider duvacke sekcije u ovom kamernom orkestru Nikola je svirao desetine koncertnih turneja u 2017 i 2018 godini. Nikola Ulemek, bas klarinet Nikola Ulemek rođen je u Beogradu 1989. god. Osnovnu muzičku školu , OMŠ “Stanislav Binički” , završio je u klasi prof. Nenada Ivanovića, srednju školu , SMŠ “Davorin Jenko“ u klasi prof. Ljubiše Jovanovića, a osnovne i master studijezavrsio je na Fakultetu muzičke umetnosti u Beogradu kodprof. Ante Grgina, sa prosekom od 10.00 . Pohađao je master klasove Ljubiše Jovanoviće, Jan JakubaBokuna, Dr. Stephanie Zelnick, Ante Grgina, Aleksandra Tasica, Pol Majera, Bruno Di Girolamo-a, Milan Reriche, Mate Bekavca, Jonatan Cohler-a i Rocco Parisi-a. Od 2010 do 2018. godine radio kao profesor klarineta u muzičkoj školi „Vatroslav Lisinski“,a po pozivu nastupa kao bas klarinetista u Simfonijskom orkestru RTS-a i Beogradskoj Filharmoniji. Artist je firme Heni Semer Paris. U julu 2013. godine je učestvovao na festivalu „ClarinetFest“ u Asiziju (Italija) , a u decembru 2014. na 4tom Evropskom Klarinetskom Kongresu u Katovicama (Poljska). Katarina Popović, horna Katarina Popović je rođena u Beogradu 1989. godine. Počela je da uči hornu u Muzičkoj školi ,,Stanković’’, gde je takođe završila nižu muzičku školu za klavir i solo pevanje, pa i srednju školu na odseku teorije muzike. 2010. ona diplomira hornu u klasi profesora Miloša Đorđevića i polaže prijemni na Univerzitetu Muzičke Umetnosti u Beogradu, gde je u klasu prima prof.Milan Radić, kod koga završava osnovne akademske studije 2014. godine. iste godine upisuje master studije kod prof. Milana Radića. Katarina je svirala u brojnim orkestarima i redovno pohađa stručne seminare. U Narodnom pozorištu u Beogradu od 2010., radi kao honorarni član u orkestru. Pozvana je i kao gost u Banjalučku Filharmoniju od 2011.; bila je stalan honorarni član simfonijskog orkestra radio televizije Srbije od 2012. – 2017.; Sa svojim bras kvintetom osvojila je Laureat na festivalu kamerne muzike u Pančevu. Mina Mendelson, koncertmajstor Rođena je u Beogradu. Doktorirala umetničke studije violine na FMU u Beogradu, u klasi red. prof. Fern Rašković. Usavršavala se kod profesora: David Takeno, Sabinne Grollmus, Stephan Baratdue, Sreten Krstić i Mateja Marinković. Gostovala je u brojnim gradovima Srbije i inostranstva (Kina, Turska, Holandija, Velika Britanija, Francuska, Nemačka, Mađarska, Bugarska, Hrvatska, Crna Gora, Makedonija). Kao solista sarađivala je sa Niškim simfonijskim orkestrom, BGO Dušan Skovran, Kamernim ansamblom Mokranjac, Gudačima Svetog Đorđa, Jevrejskim kamernim orkestrom, Orkestrom Univerziteta u Zhuhaiu (Kina) i sa dirigentima: Nelson Leong, dr Suzana Kostić, dr Milena Injac, Stefan Zekić, Vesna Šouc i Obrad Nedeljković. Na Fakultetu umetnosti u Nišu zaposlena je od 2003. godine i trenutno je vanredni profesor violine na Katedri za gudačke instrumente. Nemanja Marjanović, viola Nemanja Marjanovic je rodjen 1976. godine u Beogradu. Doplomirao je i Magistrirao na fakultetu Muzicke Umetnosti u Beogradu, u klasi Prof. Dejana Mladjenovica, a trenutno je student Doktorskih studija na Univerzitetu Umetnosti u Beogradu. Postdiplomske studije je zavrsio i u Madridu, na visokoj skoli za muziku Kraljica Sofia (Escuela Superior de Musica Reina Sofia), u klasi renomiranog svetskog solo violiste, Gerard Caussea (Zerar Kosea), u cijoj klasi je Magistrirao kao student generacije na katedri, i primio licno diplomu od NJenog Kraljevskog Visocanstva Rrine Sofie. Trenutno deluje kao Docent na Fakultetu Muzicke Umetnosti u Beogradu, i na Akademiji Umjetnosti u Banja Luci,na katedri za gudacke instrumente na odseku viola. Ladislav Mezei, violončelo Redovni profesor na Katedri za kamernu muziku Fakulteta muzičke umetnosti Univerziteta umetnosti u Beogradu, na kojem je završio diplomske i poslediplomske studije, nakon čega se dodatno usavršavao na Muzičkoj Akademiji Ferenc Liszt, u Budimpešti. Bogata umetnička biografija gospodina Mezei uključuje dve sezone na poziciji solo čeliste Sarajevske opere i filharmonije, mesto stalnog člana Beogradske filharmonije i poziciju vođe grupe violončela (1975–2004), solističke nastupe sa Vojvođanskim simfoničarima, Simfonijskim orkestrom RTS i orkestrom Vojske Jugoslavije, kao i poziciju soliste i člana baroknog ansambla Muzika florida i Akademskog kamernog ansambla Jeunesse musicale, dok su naročito zapaženi i njegovi nastupi na solo resitalima širom prostora bivše Jugoslavije. Osnivač je Jevrejskog kamernog orkestra sa kojim je ostvario veliki broj koncerta. Miladin Stojković, kontrabas Osnovne i master studije zavrsio je na Fakultetu muzicke umetnosti u kalsi profesora Nebojse Ignjatovica. Saradjivao je sa kamernim orkestrom Orfej, Camerata Serbica, Camerata Pancevo, ansamblom Beogradski barok, Simfonijskim orkestrom RTS. Od 2013. godine predaje kontrabas u muzickoj skoli Dr Vojislav Vuckovic. Igor Dražević, klavir Igor Dražević (1989) je završio osnovne i master studije je klavira u klasi prof. Dubravke Jovičić. Trenutno je na završnoj godini doktorskih studija na Fakultetu muzičke umetnosti u Beogradu, odsek klavir, u klasi prof. Aleksandra Šandorova. Usavršavao se kod istaknutih profesora klavira: Svetlane Bogino, Vladimira Ugarkova, Aleksandra Serdara, Nevene Popović, Jokut Mihajlović, Arbo Valdme, Aleksandre Romanić, Natalije Trul i Siavuša Gadžijeva. Dobitnik je brojnih nagrada na domaćim i međunarodnim takmičenjima. Kao solista i kamerni muzičar radi na promovisanju u očuvanju muzičkog stvaralaštva domaćih autora širom Srbije i u inostranstvu. Učestvovao je na festivalima savremene muzike kao što su ,,ReConstruction” (2017), ,,KoMA” (2017, 2018), Rostrum+ (2018.) Milana Benedek, gitara Započinje muzičko obrazovanje u muzičkoj školi “Vatroslav Lisinski” u klasi prof. Gorana Popovića. Srednju muzičku školu završava u klasi prof. Aleksandra Hadži-Đorđevića. Školovanje nastavlja na Fakultetu muzičke umetnosti u Beogradu u klasi prof. Vere Ogrizović gde završava i master studije. Trenutno radi kao profesor gitare u muzičkoj školi „Vatroslav Lisinski“.

Ana Stefanović i Tijana Popović Mladjenović Since its first edition, Rossi Fest has included lectures (dedicated to the topics on the intercultural and interdisciplinary context of Salomone Rossi`s work, his time, contemporaries, and successors) in its program. This year, we will have the opportunity to hear two lectures on the topics: "Jewish Musicians in Belgrade Between the Two World Wars", by Maja Vasiljević and "Aron Marko Rothmüller, composer and opera singer of Jewish origin" lecture by Dora Lovrečić. Lecture by Maja Vasiljević National Theater Museum January 29, 2023, at 6:00 p.m Jewish Musicians in Belgrade Between the Two World Wars After research experience for her latest study Jewish Musicians in Belgrade: From the Balfour Declaration to the Holocaust (Jevrejski muzičari u Beogradu: Od Balfurove deklaracije do Holokausta, 2021), an author of this lecture will open a music map of the "Jewish" interwar Belgrade. In line with that, in the opening part of the lecture, a special focus will be put on the constant migration processes of Jews. Then, an overview of the presence of Belgrade Jews in all types of musical practices - classical, i.e. artistic, popular, liturgical, i.e. synagogue, and finally, folk practices, will be given. In the second part of the lecture, following the map of urban Belgrade, an overview of musical institutions founded by Jews will be mapped. Along with the leading music institution with a Jewish presence, special focus will be put on the Serbian-Jewish Singing Society, as one of the oldest Jewish choirs in the world. The lecturer will also dedicate attention to the extremely important and so far neglected, role of Jews in the history of popular music in Belgrade and the Kingdom of Yugoslavia. Therefore, the dance school of Rihard Rosenberg and the Music House "Harmony" led by Isak Armidi, one of the first music impresarios in our country at a time when musical life was planned ad hoc will be accessed. The final part of the lecture will be focused on the leading musicians of Jewish origin in the field of artistic and popular music and the evocation of leading concert performances by audio and visual examples. Maja Vasiljević (1980) holds a Ph.D. in sociology and a master's degree in musicology and works as a Research Associate at the History Department at the Faculty of Philosophy, University of Belgrade. Since 2003, she has been engaged in music criticism on the Second Program of Radio Belgrade, in the programs Classics Please, Cultural Circles, and How to Listen to Music, and she also acted as an expert consultant for historical issues in the Cultural and Educational Program on the National Television of Serbia. She completed studies in musicology at the Department of Musicology, Faculty of Music, University of Arts in Belgrade in 2007 and sociology at the Faculty of Philosophy in Belgrade. Permanently interested in the relationship between Nazism and music, after her master's thesis Treatment of degenerate music in the Third Reich, she obtained her doctorate in sociology on the related topic of the relationship between musical practice and discourse on biopolitics by Michel Foucault and Holocaust studies. Since 2012, she has been the secretary of the scientific journal Limes plus for social sciences and humanities and Acta historiae medicinae. She is consistently interested in the music of "problematic" and "excluded", i.e. minorities - Jews, Czechs, Russians, and others, as well as musical practices and musicians in dramatic periods of great social changes in European history - the Great War, the Cold War, and the Second World War. So far, the topics of her works have been musical practices at the border of sociology, musicology, and history with an emphasis on the relationship between music and politics. Recently, she has been expanding his interdisciplinary research through the research of populism in the territory of the former Yugoslavia as a researcher on the Horizon 2020 inter-consortium project about the populist rebellion in Central and Eastern Europe after the fall of the Berlin Wall. She was also part of the digitization projects of Jewish heritage in Vojvodina from the 18th to the 19th century. She is the author of two studies Jewish Musicians in Belgrade: From the Balfour Declaration to the Holocaust (Jevrejski muzičari u Beogradu: Od Balfurove deklaracije do Holokausta, 2021) and Film Music in the SFRY: Between Politics and Poetics (Filmska muzika u SFRJ: Između politike i poetike, 2016). Lecture by Dora Lovrečić National Theater Museum January 29, 2023, at 7:30 p.m Aron Marko Rothmüller, composer and opera singer of Jewish origin In the writings on Croatian music of the 20th century, Aron Marko Rothmüller (1908–1993) is frequently mentioned due to his international renown as a baritone singer. Nevertheless, his distinguished reputation completely overshadowed his efforts as a composer, despite the fact that he composed throughout his whole life. Although only a few writers have written about Rothmüller's works, two circumstances are never overlooked: on one side the fact that he was a student of Alban Berg and on the other that he composed „Jewish music“. In this lecture, coordinates that are relevant for his opus will be illustrated through the analysis of his music works and writings about music. Dora Lovrečić was born in Rijeka in 1993. She graduated piano in 2018 at the Zagreb Music Academy under the mentorship of Dalibor Cikojević and Filip Fak. In the year 2021, she finished musicology studies at the same institution under the mentorship of Dalibor Davidović. Her master thesis represents the first monography on Aron Marko Rothmüller as a composer. Currently, she is immersed in and occupied with the musical life of the city of Rijeka – through archival research, critiques, playing in ensembles, and pedagogy.

Ana Stefanović i Tijana Popović Mladjenović Lectures by prof. Ane Stefanović and prof. Tijane Popović Mlađenović Museum of National Theatre in Belgrade 27 January 2020 at 17:30 Alongside the various musical parts of the festival program, there will be professional lectures by Ana Stefanović and Tijana Popović Mlađenović, Serbian musicologists and full-time professors at the University of Arts, Faculty of Music in Belgrade. Judicium Salomonis: Two baroque interpretations in oratorios by Carissimi and Charpentier The lecture focuses on the oratorios of Giacomo Carissimi and Marc-Antoine Charpentier, created under the same title, in 1669 and 1702 (H.422), inspired by the theme of Solomon's Court. This Old Testament parable from the first Book of Emperors (3: 16-28) not only addresses the personality of King Israel, David's successor Solomon, prophet and poet, but thematizes complex ethical issues concerning wisdom and reasoning, intangible values, on the one hand. and material wealth, power and authority, on the other hand. The Roman composer, creator of the oratorio, Karisimi, and his French disciple and successor in the oratorio genre, Charpentier, who otherwise turned to biblical themes in his work, approached this text in different ways. While Karisimi in her smaller part, for four soloists, choir, two violins and continuo, primarily sets the biblical parable as a narrative, while emphasizing the affective side of its actors, Sharpentia in a more extensive two-part oratorio setting (for nine soloists, choir and orchestra), gives the interpreation more oriented towards its philosophical and ethical side. In the lecture, we address these differences in the musical interpretation of Solomon's court multiple meanings. Prof. dr. Ana Stefanović Musicologist, Professor at the University of Arts, Faculty of Music (Department of Musicology), in Belgrade and Associate Researcher at IreMus, Paris. She received her MA degree at the Faculty of Music in Belgrade and her PhD in musicology at the University Paris IV Sorbonne. Main areas of her research are baroque opera, solo song, the relation between music and text, as well as questions of musical style and stylistic analysis. She is engaged in several international and national projects in musicology and is the author of a large number of studies and articles published in reviews for musicology and music theory, and in collected papers. She edited several issues of collected papers and organized several international conferences. She published the books: La musique comme métaphore. La relation de la musique et du texte dans l’opéra baroque français: de Lully à Rameau, Paris, L’Harmattan, 2006; Temporality and Narraivity in Music Drama, Beograd, FMU, 2017. She is also the author of the Anthology of Serbian Art Song I–VI, Belgrade, UKS, 2008–2014. Before and After the Music of Messiaen’s Quatuor pour la fin du temps What world, what network of meanings, or what dimensions of musical time are revealed before Messiaen’s Quartet for the End of Time ? What new possibilities of designation open up in the already acquired meanings of this piece? Or, in other words, what possible points or paths on which, in the already established network of its meanings, the new agent – which would correspond to the intention of the subject of interpretation and its wish to express this new experience – would be sought and found? Or, does the possibility of dynamism of the meaning itself, its unsteadiness and changeability or, in other words, the possibility of using a certain meaning of the principle-inducer of sense once again, makes it abandon its original area and obtains the hitherto non-experienced and unachieved effects of sense? Prof. dr Tijana Popović Mladjenović Musicologist, full-time Professor and Head of the Department of Musicology of the Faculty of Music, University of Arts in Belgrade. She has been a visiting professor at the Jerusalem Academy of Music and Dance, the University in Ljubljana, the Lithuanian Academy of Music and Theatre, and the Music Academy in Sarajevo. Her main research interests include the European music of the fin de siècle , contemporary music (she specialized in contemporary French music at the University of Paris IV Sorbonne), aesthetics and philosophy of music, and issues concerning thinking in music. She is author of six books: Musical Writing (1996 [2015]) , reviewed in Music and Letters; E lucevan le stelle (1997) ; Claude Debussy and His Time (2008) ; Processes of Panstylistic Musical Thinking (2009) ; Interdisciplinary Approach to Music: Listening, Performing, Composing (2014) , reviewed in Musicae Scientiae; and The Musical Text and the Ontology of the Musical Work (2017) .

Summer Program focuses on development of necessary professional skills for voice students and emerging opera artists, giving personalized attention to each individual participant, according to their specific strengths and needs. The Program offers two packages: 1. Carmen production: intensive voice lessons, coachings, musical and stage rehearsals, and a performance with an orchestra on a theatre stage 2. Voice Masterclass & Mozart Competition with a possibility of winning several prizes SUMMER OPERA ACADEMY August 2021, Belgrade Rossi Fest Summer Program focuses on the development of necessary professional skills for voice students and emerging opera artists, giving personalized attention to each participant, according to her/his specific strengths and needs. The Summer Program offers two packages: 1) Carmen production two-week program of intensive voice lessons, coachings, musical and stage rehearsals, and a performance with an orchestra of Bizet’s Carmen on a theatre stage. 2) Voice Masterclass & Mozart Competition program consisting a voice masterclass, a performance at Mozart competition with an orchestra, and a possibility of winning several prizes. Opera "Carmen" Rossi Fest production August 18, National Theatre Belgrade Ana Grigorović's Carmen focuses on the social question of Roma people and migrants' life in the systems of European countries - groups that were faced with different ways of discrimination throughout the migrant crisis from 2015-2019. The production is set in the present, placing the action in a guarded refugee house, where the characters` urge for freedom becomes apparent. The freedom that Carmen as the first operatic Roma heroine sings about is the same freedom that vulnerable social groups are looking for - the right to move, to work, and lastly, to love freely. This adaptation of the opera had its Serbian premiere with this Rossi Fest production with great success. This performance is the result of the Carmen production Academy program, in which vocal soloists had the opportunity to work on their vocal, artistic, and stage skills with Rossi Summer Academy lecturers throughout the period of two weeks. Conductor : Srboljub Dinić Director : Ana Grigorović Voice professor : Olga Makarina Second conductor : Stefan Zekić Répétiteur : Srđan Jaraković Stage design : Dunja Kostić Costume : Ivana Ivić Choreography : Tamara Pjević Video art : Matija Novaković Light design : Vlado Marinkovski Carmen – Shai Terry (IL) Don José – Marko Živković (RS) Escamillo – Vuk Zekić (RS) Micaëla – Elena Kozina-Claps (RU) Zuniga – Milan Tošić Lillas Pastia – Nemanja Stamatović Garcia – Đorđe Živadinović Grgur Orchestra ensemble: Concertmaster : Vesna Jansens Violin : Aleksandra Dimitrijević Viola : Mirko Crnojević Cello : Jasmina Vrbanić Double bass : Svetozar Vujić Flute : Jelena Španović Oboe : Marija Lazić Clarinet : Mihailo Samoran Bassoon : Ana Đorđević Horn : Igor Lazić Trumpet : Nenad Ninković Trombone : Ivan Jovanović Percussions : Aleksandar Radulović Light operator : Igor Vukojević Video operator : Dejan Ostojić Subtitles operator : Ana Bunjak Stage master : Zoran Mirić Mocart takmičenje MOZART COMPETITION August 12, National Theatre Belgrade Rossi Fest dedicates its very first opera competition to W. A. Mozart, as 2021 marks 230 years from the death of this musical genius. After the online elimination process, seven participants will have the opportunity to work on their repertoire with Rossi Fest Summer Academy lecturers and present it with the orchestra on the main stage of the National Theatre Belgrade, in front of a renowned international jury and audience. Competition Final: Tamara Mitrović Ach, ich fühl’s / Die Zauberflöte In uomini, in soldati / Così fan tutte Milica Damnjanac Der Hölle Rache / Die Zauberflöte Batti, batti, o bel Masetto / Don Giovanni Milutin Jocić Hai già vinta la causa Non più andrai / Le Nozze di Figaro Shai Terry Non so più / Le nozze di Figaro Smanie implacabili / Così fan tutte Helena Anat Susha Deh vieni, non tardar / Le Nozze di Figaro Padre, germani, addio! / Idomeneo Milos Milojević Madamina, il catalogo e’ questo / Don Giovanni Diggi, daggi, shurry, murry / Bastien und Bastienne Olivera Krivokuća Padre, germani, addio! / Idomeneo Strider sento la procella / Lucio Silla Conductors: Stefan Zekić and Adi Bar Director: Ana Grigorović Orchestra ensemble: Flute: Jelena Spanović Oboe: Marija Lazić Clarinet: Nikola Đurica Basson : Ana Djordjević Chorn : Igor Lazić First violin: Vesna Jansens Second violin: Aleksandra Jovanović Viola: Mirko Crnojević Double bass: Boban Stosić Orchestration : Srđan Jaraković Jury members: Olga Makarina soprano founder of Grand Stage International Arts Foundation Aneta Ilić soprano Voice professor and Vice-Dean at the Faculty of Music, Belgrade Katarina Jovanovič soprano Voice professor at the Faculty of Music, Belgrade Srboljub Dinić conductor General Music Director at the State Theatre Braunschweig Adi Bar conductor Prizes & Awards Certificates for all participants I, II, and III prize Potential engagement for Serbian-speaking singers in one of the upcoming productions Scholarship for Setúbal CantoFest 2022 (Portugal) Scholarship for Neustadter Meistersingerkurs mit Wettbewerbskonzert 2022 (Germany)

This concert, which is held every January 27th, marking the World Holocaust Remembrance Day, is a result of the Open Call for Young Composers we have founded four years ago. Concert: Portraits and Remembrance Thursday, January 27th Rossi Fest YouTube Channel , 20PM (GMT +1) Portraits and Remembrance represent one of the main program features of Rossi Fest. This concert, which is held every January 27th, marking the World Holocaust Remembrance Day, is a result of the Open Call for Young Composers we have founded from the first edition of the festival. Over the years, it has been a pleasure to receive applications of young composers from all around the world, who expressed their personal perspectives on the topic of the holocaust. For the Rossi fest 2022 Program seven pieces by composers from five different countries were selected by the festival Artistic committee and will be recorded and performed as part of the festival program. Authors will mostly attend the rehearsals of their pieces live online, while the Portraits and Remembrance concert will be screened online on Rossi Fest YouTube channel on January 27th at 20h (GMT +1). Aside from that, the composers will introduce us more with their pieces in short video-presentations, which will be screened prior to the performance of their pieces. This year our program for young composers is joined by the musicologist, Bojana Radovanović, whose interviews with the selected composers of this year's Open Call will be soon available at the festival website. Update: Given the current Covid19 situation, performance of pieces by Marko Karanfilovski, Otto Wanke and Gil Dori will have to be rescheduled - new performance date will be announced soon. Pieces by Carmel Curiel, Jorge Andres, Chesney Palmer and Pavel Nesit will be performed, as originally scheduled, on Rossi Fest YouTube Channel, on January 27th, 20 PM (GMT +1). Program: Marko Karanfilovski: Forced march Otto Wanke: Paths...Shadows Jorhe Andrés Ballesteros: First they came... Carmel Curiel: Is there anything sadder than a train Gil Dori: by my death... II Chesney Palmer: In the Spaces, I still remember (2021) Pavel Nesit: 1396, for alto saxophone, snare drum and cymbal Performers: Radan Jovanović, conducturo Mina Mendelson, violin Jelena Španović, flaute Mihajlo Samoran, clarinet Aleksandar Radulović, percussions Ivan Marjanović, percussions Marko Bogdanovic, piano Marina Popović, viola Ladislav Mezei, violoncello Jasmina Vrbanić, violoncello Boban Stošić, double bass Nikola Macura, saxophone Predrag Nedeljković, bass clarinet Vuk Zekić, baritone Evgenija Jeremić, soprano Tatiana Ivković, narator Photography and video production: Tamara Stojanović Dejan Đurašinović Staniša Stojanović Audio production: Marko Perić Marko Karanfilovski: Forced march The piece Forced march is composed on the text of the poem of the same name, by Hungarian poet of Jewish descent, Miklós Radnóti. The poet spent a part of WWII in the copper mine in the city of Bor, which was used as a concentration camp at the time. During the forced labor Radnóti wrote poems that were found in the pocket of his pants after the exhumation and later published under the title Bor Notebook. I find Radnóti`s poetry and the story of him very personal, given that I am a native of Bor. Ensemble: clarinet, piano, drum / tambour, baritone, cello; Marko Kranfilovski was born in Bor, Serbia in 1994. He gained his BA (2017) and MA (2019) Degrees in Composition at the Faculty of Music of the University of Arts in Belgrade, under prof. Tatjana Milošević Mijanović. He attended masterclasses by distinguished composers, such as Ivo Medek, Dimitris Andrikopoulos and Yinam Leef. His pieces were performed in numerous concerts and festivals in Serbia, Bosnia and Herzegovina and USA. He also writes music for short films, theater plays and commercials. Otto Wanke: Paths...Shadows My chamber ensemble piece Paths...Shadows is based on compiled phrases from Antonina Żabińska’s diary Ludzie i zwierzęta (released in 1968) and from Dante Alighieri’s Purgatorio written in the early 14th century. Both highly contrasting text sources were merged into a text collage, which shows connecting lines between two different stories in different times as well as between Dante’s mystical world and real-life of Żabińska. Ensemble: flute, bass clarinet, vibraphone, piano, soprano, violin, cello; Otto Wanke has undertaken a series of musical studies: first jazz composition in Prague, later classical, film, and electroacoustic composition – under Karlheinz Essl, Iris ter Schiphorst, Wolfgang Liebhart in Vienna. Recently I have been active as a performer of electroacoustic music, working as a soloist as well as in cooperation with other musicians. In 2018 I was employed as an assistant at the Department of Ethnomusicology at the Music university of Vienna and I started doing a Ph.D. program. Jorge Andrés Ballesteros : First they came... First they came... is a somber meditation on Martin Niemöller's famous poem about the cowardice of many members of German society during the rise of the Nazis that led to the Holocaust. The ensemble tries to maintain unity, but bit by bit the instruments shy away from each other when the texture threatens them. One by one, their voices are cut short with each line of the poem, until only silence is left. Ensemble: flute, clarinet, violin, viola, cello; Jorge Andrés Ballesteros is a composer and speaker based in Boston. A polystylist, his works center on classical music vernacular but include a range of musical styles. He is regularly commissioned to create projects and original works that engage with issues facing the community. He has written for groups such as the Chattanooga Symphony and the Mozart Society Orchestra. He received his BA in Music from Harvard University, where he studied with Chaya Czernowin, Edgar Barroso, and Trevor Bača. Carmel Curiel: Is there anything sadder than a train Primo Levi is one of the cultural heroes of the Jewish history of the Holocaust. He deals in his writing with the human qualities he attributes to man which were taken from him during the Holocaust. In his poem Monday, he makes a jarring comparison of the sadness in the existence of the train and of the horse to the sadness in the existence of a man, showing a man is deprived of his humanity.In my work, I referred to the transition from the mechanics to the humanity that exists in the poem - from the metal- rhythmic train, to the horse, walking at the pace dictated to it and to the man who is perceived as having free choice. I also referred to the rhythmic process in the poem - from the fast train that doesn't stop to the static, lonely person, who has no purpose to go towards. Ensemble: flute, clarinet, violin, cello; Carmel Curiel (b.1998, Israel) is a composer and a violinist. She is a student at the Jerusalem Academy of Music, with Prof. Yinam Leef. Carmel received the Sharett Foundation excellence scholarship in composition. She won the 1st prize in the Israeli Composers Competition, and at Mark Kopytman Composition Contest. 2nd prize at Klon Award for emerging composers. Her pieces were played by the NY Philharmonic Orchestra, Iineraire Ensemble, I.C.S Quartet, Mivos Quartet, Meitar Ensemble, etc. Gil Dori: by my death... II by my death... II is a standalone movement from a larger work that is the creative culmination of my doctoral research into representations of the Holocaust in music. It features two poems by Julia Kolchinsky: Inheritance and Away From Babi Yar. Both reflect on a personal story and relay the general narrative of Holocaust victims. The piece deals with the culture of remembrance of the Holocaust between tradition and innovation, past and future, and extermination and resurrection. Ensemble: violin, reciter, live electronics; Gil Dori is interested in interactive electronic music, graphic notation, proportional procedures, and Jewish music. In addition to his artistic work, Gil is a co-founder of the EyeHarp Association, a cooperative start-up that develops accessible digital instruments, based in Barcelona, Spain. He also teaches online computer music and sound design classes at Ben-Gurion University and Sapir Academic College, Israel. Gil holds a Doctor of Musical Arts degree from Arizona State University. Chesney Palmer: In the Spaces, I still remember In the Spaces, I still remember is a work for submission to Portraits of Remembrance (2022) based on The Six Righteous Among the Nations in Auschwitz. It serves as a contribution to the memory of these beautiful human beings that sought to preserve life among their communities. The narration provokes powerful imagery of a terrible time that the world will not soon forget. In keeping the memory alive of these courageous few we hope history will teach us how to be better. Ensemble: Bb clarinet, violin, cello, double bass, piano, 2 percussionists: tubular bells, vibraphone, glockenspiel; Chesney Palmer is a pianist, clarinetist, and emerging composer from South Africa with a keen interest in abstraction theories and the links between visual abstract art and music. As a synesthete, he uses his multi-associative experiences to explore abstract art in a personal way that emphasizes textures, shapes, and sounds in music. He is currently pursuing a Ph.D. under Lukas Ligeti. Pavel Nesit: 1396, for alto saxophone, snare drum and cymbal With my composition I want to pay tribute to the memory of the victims of the Roma Holocaust. I was looking for inspiration, among other things, when visiting the memorial of the concentration camp in Hodonín near Kunštát. It brought me appalling testimonies of human suffering and fundamentally affected my composition. For example, the rhythm of a small drum is supposed to evoke the beating stereotype of slave labor. The number 1396 is the number of prisoners who were in Hodonín. Ensemble: alto saxophone, snare drum, cymbal; Pavel Nesit was born in 1997 in Ostrava, where he also studied composition at the conservatory, under Milan Báchorek and Michal Janošík. Currently he is studying composition for fourth year at the Prague Academy of Music in the class of doc. Ph.D MgA. Slavomír Hořínka. In his current work, I prefer to work with limited compositional material and I focus on improving the purity of his compositional language. He has written a number of compositions for various ensembles (solo, choral, chamber or orchestral) and music for theater and film. Jevrejski kamerni orkestar Jevrejski kamerni orkestar osnovao je 2012. godine violončeista Ladislav Mezei, u saradnji sa B'nei B'rit ložom Srbije, a članovi orkestra su profesionalni muzičari jevrejskog porekla i njihovih prijatelji. Primarni cilj orkestra predstavljanje muzike jevrejskih kompozitora, kao i drugih kompozitora čija su dela inspirisana jevrejskim temama, a interpretacija orkestra povezana je sa tradicijom, kulturom i istorijom jevrejske zajednice u Srbiji.

Lecture of the prof. Ane Stefanović 'David et Jonathas, the biblical opera by Marc-Antoine Charpentie' and lecture of the prof. Tijane Popović Mlađenović 'Concerto for Viola and Orchestra / Viola Tango Rock Concerto Benjamina Jusupova'. 27. january 2019 Lectures of the prof. Ana Stefanović and Prof. Tijana Popović Mlađenović Jewish Community of Belgrade / Gallery 27. January 2019 An important part of the Rossi Fest program is dedicated to the education and affirmation of music students and young music professionals. Therefore, in addition to the concerts of local and foreign performers, the competition for young composers, and the master course for young opera singers, the program included lectures by eminent musicologists. In the gallery of the Jewish Comunnittz Belgrade, on January 27th, 2019, two professional lectures were given by the professors of the Faculty of Music Art in Belgrade, Dr Ana Stefanovic and Dr. Tijana Popovic Mlađenovic. Ana Stefanović, musicologist, Professor at the University of Arts, Faculty of Music (Department of Musicology), in Belgrade and Associate Researcher at IreMus , Paris. She received her MA degree at the Faculty of Music in Belgrade and her PhD in musicology at the University Paris IV Sorbonne. Main areas of her research are baroque opera, solo song, the relation between music and text, as well as questions of musical style and stylistic analysis. She is engaged in several international and national projects in musicology and is the author of a large number of studies and articles published in reviews for musicology and music theory, and in collected papers. She edited several issues of collected papers and organized several international conferences. She published the books: La musique comme métaphore. La relation de la musique et du texte dans l’opéra baroque français: de Lully à Rameau , Paris, L’Harmattan, 2006; Temporality and Narraivity in Music Drama , Beograd, FMU, 2017. She is also the author of the Anthology of Serbian Art Song I–VI , Belgrade, UKS, 2008–2014. David et Jonathas , the biblical opera by Marc-Antoine Charpentier In this lecture, we deal with the particular position of Marc-Antoine Charpentier’s tragédie en musique David et Jonathas (1688) on the libretto by François Bretonneau, one of two operas based on the Old Testament − besides Jephté (1732) by Michel Montéclair − in the whole French baroque repertoire. Beyond that, the unique position of this work in the history of music lies in the fact that it is, in its first performance in the college of Jesuits Luis le Grand in Paris, performed in combination with the other biblical, literary drama, Saul by Father Étienne Chamillard. This opera is in this sense strongly marked by several crossings: of two religious and cultural paradigms, Judean and Christian / Catholic, of two genres, literary and musical tragedy, of two spheres, sacred and profane – the crossing obtained by the insertion of the religious subject in a secular musical genre −, and finally, of musical generic models, also involving a stylistic and musical poetic mixture that come from this opposition. The conference will focus on these multiple crossings, giving this Charpentier’s opera a special place in the French and European lyric field. Dr Tijana Popović Mladjenović is a musicologist, full-time Professor at the Department of Musicology of the Faculty of Music, University of Arts in Belgrade, and Head of the Musicology Department Council. She has been a visiting professor at the Jerusalem Academy of Music and Dance, the University in Ljubljana, the Lithuanian Academy of Music and Theatre, and the Music Academy in Sarajevo. Her main research interests include the European music of the fin de siècle, contemporary music (she specialized in contemporary French music at the University of Paris IV Sorbonne), aesthetics and philosophy of music, and issues concerning thinking in music. She is the author of six books. Concerto for Viola and Orchestra / Viola Tango Rock Concerto Benjamina Yusupova Music has a Vision – Listening to Others and Oneself through It Since music is primarily a cultural phenomenon (because there is no culture without music and because every man possesses that subtle skill of significantly yet intuitively understanding music), whose essential feature is diversity (the plentitude, variety and coexistence of musical identities), the question that always imposes itself and now seems especially intriguing is when and how music moves us, or to what are we moved? In other words, if we model ourselves through music both as individuals and as participants in culture, and if in constructing musical traditions, we model the way culture is constructed by building the consensus of musical belief and commitment on which musical collaboration depends – the question that imposes itself is how does music give us a new identity today, which is both thoroughly other and fully ours, or to what extent people now tune their sense of self to (different) music (identities)? From a postmodern perspective, the basic work of culture is to construct subject positions, and the primary action of music in this era is not to express but to invite subjectivity. In this context, the general power of music to implant subjective states in the listener that are paradoxically both native and alien, is perceived using the work of Benjamin Yusupov as an example (his approach combines the specific cultural identities of various ethnic groups with different styles of art and popular Western music), primarily his Concerto for Viola and Orchestra / Viola Tango Rock Concerto (2003). 1/1

The fourth edition of the academy will commemorate the 100th anniversary of Giacomo Puccini's death with a performance of the opera "Suor Angelica" and celebrate the 145th anniversary of the founding of the Baruch Brothers Choir with a concert as part of the European Days of Jewish Culture. Both concerts will take place in the theater Madlenianum in Belgrade on 27th September 2024. SUMMER OPERA ACADEMY August 20-27, 2024, Belgrade Rossi Fest Summer Opera Academy is dedicated to presenting and promoting opera to domestic and international audiences and educating young opera professionals. The fourth edition of the academy will commemorate the 100th anniversary of Giacomo Puccini's death with a performance of the opera "Suor Angelica" and celebrate the 145th anniversary of the founding of the Braća Baruh Choir with a concert as part of the European Days of Jewish Culture. One of the festival's key goals is the development and enhancement of the professional skills of young opera artists in line with global standards. This year, the Summer Opera Academy offers young singers the opportunity to attend a masterclass with Metropolitan Opera soprano Olga Makarina and work with conductors Adi Bar Soria (Israel) and Stefan Zekić. The program includes: Intensive stage and music rehearsals for the production of Giacomo Puccini's opera "Suor Angelica." Individual online sessions with Olga Makarina. Work with conductors Adi Bar Soria and Stefan Zekić. Acting workshop "Character Through Action" – creating a character through active stage presence, led by director Ana Grigorović (National Theatre in Belgrade). Stage production with an orchestra for the "Suor Angelica" opera at the Madlenianum Theatre. Media coverage of performances (post-production, interviews, etc.). Professional video and audio recordings of the performances. Professional photographs of all events, including rehearsals. Application and Information: The application is free of charge. Application deadline: September 3, 2024. Participation fee: 800€ Rossi Fest offers special scholarships to the most talented young singers from Serbia. For more information, contact us at: contact@rossifest.org . Artistic team: Adi Bar Soria conductor, vocal coach Stefan zekić conductor Ana Grigorović director Ana Grigorović director Opera Sestra Anđelika 27. Septembar 2024., Beograd Radnja Pučinijeve opere Sestra Anđelika odvija se u strogom katoličkom samostanu, gde mlada plemkinja Anđelika, poslata zbog vanbračne trudnoće, prolazi kroz duboku unutrašnju dramu. Njena priča osvetljava univerzalne teme majčinstva, gubitka i ženske sudbine, naglašavajući društvena očekivanja prema ženama. Kroz emotivnu muziku, Pučini prikazuje Anđelikin svet ispunjen tugom i čežnjom za sinom kojeg nikada nije videla. Prelomni trenutak nastupa kada joj tetka saopštava da je njen sin preminuo, što Anđeliku vodi ka tragičnoj odluci da sebi oduzme život u nadi da će se u smrti ponovo ujediniti sa njim. Priča o magdalenskim vešernicama, ustanovama gde su žene suočene sa brutalnim posledicama društvenih normi, naglašava kako su društveni pritisci oblikovali sudbine mnogih žena. Veza između Anđelikinog slučaja i tih žena ukazuje na večiti sukob između slobode izbora i društvenih očekivanja. Iako smeštena u 17. vek, Pučinijeva drama odjekuje i danas, reflektujući pritiske sa kojima se žene suočavaju u vezi s majčinstvom, karijerom i ličnom slobodom. Anđelikin tragičan kraj postavlja pitanja o ceni koju žene plaćaju za svoju slobodu, podsećajući nas na važnost borbe za prava žena i njihovo mesto u društvu. Sestra Anđelika nije samo priča o jednoj ženi, već univerzalna poruka o ženskoj borbi za pravo da same odlučuju o svojoj sudbini. Đakomo Pučini SESTRA ANĐELIKA Opera u jednom činu Libreto Đovakino Forcano Dirigent Stefan Zekić Reditelj Ana Grigorović Scenograf Dunja Kostić Korišćeni elementi dekora predstave Miholjsko leto (scenograf Vesna Popović) Kostimograf Katarina Grčić Nikolić Dizajn svetla Vlado Marinkovski Sestra Anđelika Jelena Radovanović Kneginja, Anđelikina tetka Martina Koljenšić Nastojnica samostana Nataša Rašić Učiteljica novih iskušenica Vera Zečević Sestra Đenovjeva Tamara Ružić Sestra bolničarka Nevena Matić Sestra Dolčina Sara Kržalić Sestre milosnice Iskra Sretović, Hristina Stanković Preobraćenice Simona Đurović, Jana Maksimović Sestra Osmina Angelina Grieko Sestra Lučila Lara Perić Iskušenice Emilija Vidicki, Anastasija Mitrović, Katarina Stajčić Anđelikino dete Avram Zekić Deca Zara Šoljaga, Mitra Šoljaga, Lea Zekić, Aleksandar Vujičić, Lucia Ravlić, Miljana Komatina Hor Braća Baruh Koncertmajstor Vesna Jansens Binsku muziku vodi Anastasija Mitrović Inspicijent Jovana Gavrilović Prevod libreta Ana Bunjak Gala koncert Program: Avinu Malekinu ar. Maks Janovski Supplication Iz ciklusa Jevrejski život Ernest Bloh Baal schem 2. Nigun Ernest Bloh Sefardske pesme 1. Skalerica de oro 2. Adio querida 4. En la mar Prema pevanju Jagode Flori Zapis i aranžman: Kamenko Berić Tema iz filma Šindlerova lista Džon Vilijams Pet jevrejskih ljubavnih pesama 1. Temuna 2. Kalá kallá 3. Lárov 4. Éyze shéleg! 5. Rakút Muzika: Erik Vitakre Tekst: Hila Plitman Gelt David Mejerovič Ar. Džek Kamen 150 psalm Luis Levandovski Dirigenti: Adi Bar Soria (Izrael) Stefan Zekić Izvođači: Hor Braća Baruh Mina Mendelson, violina Ladislav Mezei, violončelo Nada Matijević, klavir Tamara Ružić, sopran Nevena Tatmoirović, sopran Luka Lazarević, tenor Gala Gala Koncert Previous editions of Summer Opera Academy 2023 Concert of the participants of the Academy 2021 Mocart competition 2022 Opera "Il Tabarro" 2022 Gala concert "Renewal" 2023 Opera review "Der Schauspieldirektor" 2023 Concert of the Academy participants

Summer Program focuses on development of necessary professional skills for voice students and emerging opera artists, giving personalized attention to each individual participant, according to their specific strengths and needs. The Program offers two packages: 1. Carmen production: intensive voice lessons, coachings, musical and stage rehearsals, and a performance with an orchestra on a theatre stage 2. Voice Masterclass & Mozart Competition with a possibility of winning several prizes SUMMER OPERA ACADEMY September 2022, Belgrade Rossi Fest Summer Opera Academy aims to present and promote opera to local and international audiences and contribute to the education of young opera professionals. The second edition of the Rossi Fest Summer Opera Academy will be opened by a pioneering event in Serbia, a hybrid between the urban pop culture and opera, happening on the barge 20/44 - a performance of Puccini's one-act Il Tabarro, and a DJ set. Since the development of the necessary professional skills for modern young opera artists is one of the festival's priorities, this Summer Opera Academy will offer young singers a master class with conductors Adi Bar Soria and Stefan Zekić, as well as a round table on the modern opera business with Serbian and world-renowned opera singer, Sanja Anastasia. Artistic team: Stefan zekić conductor Ana Grigorović director Adi Bar Soria conductor Srboljub Dinić mezzo-soprano OPERA IL TABARRO Rossi Fest & Opera Lab production September 1st, Barge 20/44 Giacomo Puccini’s one-act opera Il Tabarro revolves around a love triangle amongst harbor workers, without opportunities or a bright future. This opera is considered to be a masterpiece of verismo style with its musical dramaturgy that includes a vast palette of documentary sounds of life on the river banks. This hyper-realistic approach aims to paint a location unintended for an upper-class opera audience. Rossi fest and Opera Lab’s production approach this classic with respect to its verismo style, performing on an authentic cargo ship on the river Sava. Boat club 20/44 is a legendary venue of Belgrade nightlife. Known for its concept of broadening the borders of freedom and conventions it is in line with our values and artistic concept. A contemporary take on this classical piece raises the questions of the visibility of different classes in the system and the concept of freedom regardless of class affiliation. Il Tabarro reveals human urges and aspirations to rebel against the concept of reality. Site-specific performance of Il Tabarro is a pioneering initiative in Serbia. It presents a big step in examining the potential of presenting the opera genre and creating a new audience. Director – Ana Grigorović Conductor – Stefan Zekić Scenic design – Dunja Kostić Light design – Ana Grigorović Graphic Design - Katarina Mrčela Michele, a barge-owner: Vuk Zekić Giorgetta, Michele's wife: Evgenija Jeremić Luigi, a stevedore: Marko Živković La Frugola , Talpa's wife : Nataša Rašić Talpa, a stevedore : Mihailo Šljivić Tinca , a stevedore : Đorđe Nenić Song Seller: Luka Lazarević Lovers: Sara Ristić and Luka Lazarević The Baruch Brothers choir: Maša Nedeljković, Mlijana Zekić, Ivana Jovanović, Jelena Zekić, Teodora Trajković, Danilo Trajković, Milutin Svirac, Nenad Savić, Zoran Stepanović i Vladimir Atlagić Chamber orchestra: Violin: Vesna Jansens Violin: Aleksandra Dimitrijević Viola: Mirko Crnojević Cello: Jasmina Vrbanić Bassi: Boban Stošić Flute: Jelena Španović Oboe: Viktor Isaković Clarinet: Mihailo Samoran Bassoon: Ana Đorđević First horn: Igor Lazić Second horn: Gordana Stojnić Trumpet: Jovan Savić Trombone: Ivan Jovanović Percussions: Aleksandar Radulović Hair and makeup: Marija Todorović Title operator: Emina Ukić Light rental: Fast Forward 011 Opera Lab Opera Lab was founded with the aim of examining the limits of operatic art in the public space and attracting a new opera audience. By researching the genre through actualization and deconstruction of classical opera pieces and the exploration of contemporary pieces through ambiental and site-specific productions, a new space is formed for an alternative opera scene. The initiative of Opera Lab is the first of its kind in Serbia and is extremely important for the development and modernization of musical theater in the country and region. Opera Il tabarro performed on the boat 20/44 is the first project of the association. Tickets can be purchased in Vulkan bookstores or through the website www.gigstix.com Gala concert September 4th, 2022, National Theater in Belgrade As the Summer Opera Academy also follows the main theme of Rossi Fest, the program of the Gala concert, happening on the European Day of Jewish Culture on the Raša Plaović stage at the National Theater in Belgrade, will consist of a repertoire composed of attractive opera and classical instrumental music nummers, written by Jewish composers or with topics related to Jewish culture. Performers: Jewish chamber orchestra Baruch Brothers choir Participants of the Summer Opera Academy Program: Verdi, Sen Sans, Ofenbach, Lewandowsky, Cohen Entrance to the Gala is free, however complementary tickets are needed in order to attend the concert and can be collected at the ticket office of the National Theater in Belgrade from September 1st, 2022. Gala koncert Renewal